Matthew Sprizzo
ARTISTS 2012-2013
www.matthewsprizzo.com
www.matthewsprizzo.com
Instrumentalists
Chopin #1 with Jorge Mester and the Louisville Orchestra, March 2011:“As soloist for last evening’s performance, pianist Seung-Un Ha was absolutely mesmerizing...As a performer Seung-Un Ha is often described as an amalgam of silk and sinew. This is an apt description of her style which combines fluidity and precision with brilliant musicality. While I am in general a fan of the invisible performer who allows the music to take center stage I was fascinated by the added dimension created by the choreography in Seung-Un Ha’s subtle, balletic hand gestures as she moved across the keyboard.”
-Arts Louisville
Mozart #25 with the Los Angeles Chamber Orchestra under Jeff Kahane:
“I had missed the Hollywood Bowl debut of the young Korean pianist Seung-Un Ha; her performance of K. 503 with Jeffrey Kahane and his Los Angeles Chamber Orchestra at Royce Hall last Friday bore eloquence and promise. Tall in stature and long of arm, with hair nearly as long as Kahane is tall, she writhed her way prettily through the work’s majestic measures, reacting beautifully to the expressive high points, seconded by Kahane’s properly large-scale shaping of this extraordinary—if still too little-known—masterwork from Mozart’s maturity.”
-L.A. Weekly
Rachmaninoff #2 at “Midsummer Mozart”:
“Ha brought authority as well as maturity to her hair-trigger interaction with the composer, conductor and orchestra. One sensed that she arrived onstage with the whole of the long concerto coiled inside her and simply, elegantly released it. This was play at the highest level. Her strong technique afforded fiery address without a trace of harshness in the tone.”
-The San Francisco Examiner
Kennedy Center Recital Debut:
“Ha provided something to feast on in every measure. This musician is ready for the greatest challenges and the toughest scrutiny. Her exceptional technique, capable of immense power in strings of octaves or of the sheerest delicacy in pianissimo passages, transformed these concert hall staples into fresh gems. For the subtleties of expression, sumptuous sound produced and spotless finger work, this was truly captivating playing.”
-The Washington Post
With the Maryland Symphony under Elizabeth Schulze:
“The Piano Concerto No. 4 in C minor, written in 1874 by Camille Saint-Saëns, featured a superb pianist Seung-Un Ha. The concerto features continuous technical difficulties for the pianist, and Ha handled them all with assurance. The audience responded with a standing ovation.”
-The Morning Herald, Hagerstown MD
Bartók #3 with the Pasadena Symphony under Jorge Mester:
“…restraint and cool makes its central mysteries more poignant than does angst and heat. That was the tack taken by Mester and his soloist Seung-Un Ha. The pianist brought clarity and light to her assignment, and no small measure of poise and affection.”
-The Los Angeles Times
Beethoven #3 with Lawrence Foster and the Los Angeles Philharmonic at the Hollywood Bowl:
“Ha achieved firm and untroubled collaboration with pianist Seung-Un Ha, the Korean American soloist in the C-minor Concerto. Ha’s authoritative way with the work included an impassioned delivery of the first-movement cadenza, a tight and concentrated performance of the slow movement and both technical glitter and good humor in the finale. She showed happy signs of a true individuality and all the musical polish one might ask.”
-The Los Angeles Times
Prokofiev #3 with the Reading Symphony:
“Unleashing a tightly coiled energy, the physically diminutive pianist devoured the keyboard in passages of rhythmic fury, inspiring the orchestra and music director to their best collaboration in the last twelve years. Ha, with phenomenal artistry and sheer strength, brought this piece to vivid life. Blessed with a gift for drama equal to her musical talent, she spit out the machine-like rhythmic passages as though she were a woman possessed, attacking the mad glissandi in the third movement with abandon. But in the softer, sweeter sections, she made every note sparkle.”
-The Reading Eagle/Reading Times
Rachmaninoff #2 with the Royal Scottish National Orchestra:
“On her European debut, Seung-Un Ha played as if under no influence stronger than that of the composer himself, articulating the sweeping lines with delicate precision and the fresh, uncluttered tone that has made her a respected interpreter of Mozart.”
-Scotland on Sunday
Aptly described as a rare combination of silk and sinew, Korean-American pianist SEUNG-UN HA is equally praised for the uncommon grace, crystalline tone and singing legato she brings to Mozart, and the power and passion she brings to Rachmaninoff and Tchaikovsky. Her international career includes engagements with the Milwaukee, Pittsburgh, Quebec, San Diego, Baltimore, Utah, Phoenix, Pasadena and Pacific Symphonies and Tulsa Philharmonic; Florida Orchestra; Germany's Bremen Philharmonic, France's Orchestre Symphonique Français, Scotland's Royal Scottish National Orchestra, Mexico's Orquesta Sinfonica de Mineria and Mexico City Philharmonic; Buenos Aires' Orquesta de Camara Mayo and the National Symphony of Taiwan. Festival invitations include New York's Chautauqua (Rachmaninoff #3 under Paul Nadler), "Mostly Mozart," San Francisco's "Midsummer Mozart," Ravinia and Aspen. She made her Hollywood Bowl and Los Angeles Philharmonic debuts, performing Beethoven’s Third Piano Concerto, Lawrence Foster conducting, and her Los Angeles Chamber Orchestra debut, Music Director Jeffrey Kahane conducting. Other conductors with whom Ms. Ha has collaborated include Zdenek Macal, Leonard Slatkin, Joseph Silverstein, Maximiano Valdes and George Cleve. She has also offered acclaimed recitals in Washington, D.C., San Francisco, Philadelphia and Detroit. Her 2010-11 season included a debut with the Louisville Orchestra in Chopin's First Piano Concerto.Ms. Ha began her piano studies at age three in her native Korea, giving her first public recital two years later. At seven she placed First in Seoul’s National Youth Piano Competition; at ten she and her family came to the United States, settling in Southern California. Her U.S. orchestral debut was at age thirteen with the Santa Barbara Symphony; her auspicious New York orchestral debut was in Lincoln Center’s Avery Fisher Hall, Leonard Slatkin conducting the Juilliard Orchestra. Following studies with Reginald Stewart at the Music Academy of the West in Santa Barbara, she graduated from the Peabody Conservatory and The Juilliard School. Her teachers include Leon Fleisher, Martin Canin and John Perry.
Available upon request a “live” recording of Rachmaninoff #2 and Mozart #25 OR Bach’s Goldberg Variations can be sent to you. E-mail
MSprizzo@aol.com.
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James Tocco
Instrumentalists - Pianist
Schumann Concerto with the Detroit Symphony:
"Guest conductor Gerhardt Zimmermann and pianist James Tocco assured the attractive nature of the event, and the place was indeed packed. One may not expect many innovative surprises with Schumann's Piano Concerto, with its immense popularity and appeal. Yet, delving deeply into this music and presenting it with clear and well-shaped phrases is a challenge even for the most experienced pianists. Tocco, who has become familiar to our audiences through his annual Great Lakes Festival, is one of those few artists who can deliver this work as close to perfection as possible...Well shaped forms and inspiration were the rule. One rarely hears, for example, the first movement's cadenza with such good balance between the initial expressiveness and the building force and momentum that culminate it. The expressive middle movement had the right touch--the kind of approach that is sincere without exaggerated artificial sentimentality. At the climactic conclusion, one was left with the feeling not just of a work well done, but with a work that was done right in terms of the artistic demands."
-The New Monitor
Barber Concerto with Michael Stern and the Kansas City Symphony:
“Tocco handily mastered the technical challenges–percussive chords rapidly moving all over the keyboard...The slower central movement was closest to the romantic style of the Adagio. Tocco played the haunting main theme with a convincing singing tone...The finaled opened with an explosive sound. Tocco again nicely managed the technical challenges, providing big booming chords.” -The Kansas City Star
Corigliano Piano Concerto with Leonard Slatkin and the National Symphony:
“Pianist Tocco is practically making a career these days of performing Corigliano’s concerto. Tocco brought out the demonic energy of the work, confidently and skillfully slashing his way through the pounding chords and careening octave passages of the foreboding opening movement. After the fleet, driving Scherzo, there was a nice balance in the weightier Adagio. Tocco colored the piano to bring out the wide-ranging harmonies and melodies of the finale, which ended with a breathtaking crash.”
-The Washington Post
Music of Paul Schoenfield on Naxos CD:
“…it’s a virtuoso piano work that pays homage to great composers and musicians such as Ravel, Gershwin, and the Harlem stride pianists of the 1920s. James Tocco shines here, playing with technicolor sheen in the Gershwinesque Allemande, whose melody parodies the music of old Hollywood romantic comedies, while conveying the excitement of the galloping rhythms and high spirits of the final movement, Boogie.”
-Classics Today
Bernstein’s Age of Anxiety with Marin Alsop and the New World Symphony:
“James Judd and the Florida Philharmonic gave a solid rendering of The Age of Anxiety in May, but the performance by Alsop and the New World Symphony was on a different level. In large part, that’s due to pianist James Tocco, who was clearly much more in sympathy with Bernstein’s idiom than Judd’s soloist, making for a more cohesive partnership.”
-The South Florida Sun-Sentinel
Mozart #21 with the Cincinnati Chamber Orchestra:
“A thoroughly engaging performance…Tocco presided over the Mozart like the host of a grand event, patrician but always warm and inviting. The famous “Elvira Madigan” slow movement was a virtual songfest, the CCO strings muted but lush. And there was spring in his touch in the exuberant finale.”
-The Cincinnati Post
at the Great Lakes Chamber Music Festival:
“…pianist James Tocco gave a deeply felt, volatile performance of Lera Auerbach’s “Chorale, Fugue, and Postlude,” a gut-wrenching piece whose emotional terrain travels from brooding discontent to suicidal despair.”
-The Detroit Free Press
“The Great Lakes festival draws its starry roster of musicians from all over the world, but none ever seems to outshine its founder and artistic director, pianist James Tocco. And it was Tocco’s dramatic turn through Chopin’s Preludes, Op. 28, that highlighted this concert and indeed set the tone for the festival. Tocco, a Detroit native who holds a distinguished position at the Cincinnati College-Conservatory of Music, imbued each of the Chopin Preludes with its own compelling temperament, imagery and life. Here was intensely concentrated playing, precisely gauged and yet rhythmically fluid, at once virile and poetic. Tocco also proved to be a generous musical collaborator in teaming with the Ying String Quartet for Schumann’s Piano Quintet in E-flat, Op. 44…Tocco seemed like another member of the family, so free and vibrant were the exchanges between keyboard and strings in the ghostly scherzo and rocketing finale.”
-The Detroit News
“The blockbuster hit of the day was the Concerto for Violin, Piano and String Quartet by Chausson. It included a stunning performance by pianist Tocco, who is the finest chamber pianist this reviewer has heard. The piano does double duty in this piece as soloist and also accompanist, and Tocco excelled equally in both roles.”
-The Cincinnati Enquirer
Barber Concerto with Leonard Slatkin and the Detroit Symphony:
"Crushing octaves and other dazzling keyboard passages jostle with luscious orchestral textures, melodic sweep and a central elegy of passionate embrace. The Detroit-born Tocco, also a Barber champion, was a heroic soloist, taming the technical challenges with nimble fingers and a chiseled but flexible sound...a long overdue return to the stage of Orchestra Hall to perform with the DSO."
-The Detroit Free Press
“The Barber centerpiece was his Piano Concerto, which received the 1962 Pulitzer Prize. It is a work of dazzling brilliance, prodigiously dificult for pianist and orchestra alike. Pianist James Tocco, a Detroit native who has kept up his local ties as artistic director of the Great Lakes Chamber Music Festival, turned in an effort that was little short of Olympian. The finale, fraught with torrential syncopations at blinding speeds, left the pianist red-faced at the finish--and the audience quite wowed.”
-The Detroit News
Schumann Concerto with the Detroit Symphony:
"Schumann's concerto offered the most substantive music of the night. It was particularly rewarding to hear the versatile Tocco, who is best known nationally as an exponent of 20th-century American music from Barber to Corigliano, tackle Schumann's mercurial, romantic concerto from the mid-19th-century. Metro Detroiters, who hear Tocco annually at the Great Lakes Chamber Music Festival where he is artistic director, know the balance of passionate yearning and structural discipline that he brings to this repertoire, and those qualities were much in evidence on Sunday. Playing with a chiseled yet sensitive tone and touch, Tocco was keenly alert to the composer's impulsive shifts of mood, capturing the serene melodic and harmonic beauties and agitated fits in equal measure."
-The Detroit Free Press
Italian-American virtuoso JAMES TOCCO enjoys international renown as a recitalist, orchestral soloist, chamber musician and pedagogue. Beyond his vast repertoire of virtually the entire standard piano literature, he is widely regarded as among the foremost interpreters of American masterworks, including Bernstein’s Age of Anxiety, which he recorded with Leonard Slatkin and the BBC London Symphony and performed with Marin Alsop and the New World Symphony; and the Corigliano Piano Concerto, of which he is acknowledged the definitive interpreter by the Pulitzer-Prize-winning composer. He has performed this spectacular work to great acclaim with the Atlanta, San Diego, Kansas City and Phoenix Symphonies and Louisville Orchestra, the latter including an acclaimed recording, a well as most recently with Andrew Litton and the Cincinnati Symphony and Leonard Slatkin and the National Symphony at Washington D.C.’s Kennedy Center. In addition he is the pianist of choice for the Barber Concerto, most recently with the orchestras of Detroit, Kansas City and Long Beach. European debuts include the London Philharmonia (Prokofiev’s Third Piano Concerto) and Royal Concertgebouw Orchestra (MacDowell Concerto and Gershwin’s Rhapsody in Blue). An especially accomplished recitalist, Mr. Tocco has been widely praised for his interpretations of Beethoven, Chopin and Liszt, as well as 20th-century composers, and he among the very few pianists to regularly program the keyboard works of Handel.
Born of Italian parents in Detroit, Mr. Tocco’s love of music--especially opera--began in early childhood. At six he started studying piano and at twelve he made his orchestral debut, performing Beethoven’s Second Concerto. Among the countless awards that followed were a scholarship to the Salzburg Mozarteum and a French government grant to study with Magda Tagliaferro in Paris. His musical education was completed with Claudio Arrau in New York. International prominence came with his First Prize victory in the International ARD Competition in Munich, followed by a major triumph as a last-minute replacement for Arturo Benedetti Michelangeli as guest soloist for the Tchaikovsky First Piano Concerto at the Vienna Festival. In the years since then he has performed literally around the world: throughout North and South America, Europe, the Soviet Untion, Japan, Australia, South Africa and the Middle East. His orchestral engagements include the Cleveland, Florida and Minnesota Orchestras; Berlin, London, Los Angeles, Hong Kong and Munich Philharmonics; London, Houston, Pittsburgh, Cincinnati, Detroit, Chicago, New World, National, South Bend and NHK (Japan) Symphonies. Conductors with whom he has collaborated include Marin Alsop, David Atherton, Esa-Pekka Salonen, Jesus Lopez-Cobos, Andrew Litton, Yoav Talmi, Robert Shaw, Yoel Levi, Zdenek Macal, Gerard Schwarz, Raymond Leppard, David Zinman, Lukas Foss, Georges Prêtre, Neeme Järvi, James DePreist, Hugh Wolff, Wolfgang Sawallisch, Leonard Slatkin, John Nelson, Christoph Eschenbach and Christoph von Dohnányi. Festival invitations include Salzburg, Vienna, Lockenhaus, Holland, Schleswig-Holstein, Dubrovnik, Wolf Trap, the Hollywood Bowl, Blossom, Ravinia, New York’s “Mostly Mozart,” Spoleto (USA) and Santa Fe.
Mr. Tocco’s voluminous discography reflects his varied tastes and astonishing versatility: the world-premiere recording of Bernstein’s complete solo piano music, an all-Copland disc including the first recording of the solo piano version of the Suite from Rodeo; the complete Chopin Préludes, the complete piano music of Charles Tomlinson Griffes; Erwin Schulhof’s Cinq Etudes de Jazz; Bach-Liszt Organ Transcriptions; and the four piano sonatas of Edward MacDowell. Recently issued to unanimous acclaim is Mr. Tocco’s recording of Corigliano’s Etude-Fantasy on Sony Classical.
In addition to his rigorous international performing itinerary, Mr. Tocco is Eminent Scholar/Artist-in-Residence at the University of Cincinnati College Conservatory of Music, and Professor of Piano at the Musikhochschule in Lübeck, Germany. Mr. Tocco is also the Artistic Director of the Great Lakes Chamber Music Festival in Bloomfield Hills, Michigan.
Ravel: Alborada del gracioso
Copland: Hoedown
Barber: Excursions, Op. 20 (Un poco allegro)
James Tocco on Naxos
James Tocco on ArkivMusic
James Tocco's chamber-music festival
Also available upon request Mr. Tocco performing the Barber, Corigliano, Beethoven ("Emperor") Concertos.
E-mail MSprizzo@aol.com.
Stefan Vladar
Instrumentalists - Piano
August 2009 "Mostly Mozart" Festival debut:
”A spirited reading of the Haydn concerto...there was plenty of dazzle when Mr. Vladar played it in his festival debut. Especially in the Gypsy rondo finale, his fingers seemed to be flying ahead of the ensemble. His interpretation was notable for its clarity and pristine articulation in the outer movements and its elegant phrasing in the second movement..."
-The New York Times
Mozart Piano Concerto No. 23 with the New World Symphony:
“It was played with a limpidity of tone, a quicksilver fluency, a richness of texture and felicity in ornamentation—and such affectionate warmth in the slow movement, it wound up with soloist, orchestra and audience in a mutual glow.”
-The Miami Herald
Bach Goldberg Variations at Washington’s National Gallery:
“After his exhaustive account of this most exhaustive of keyboard masterpieces, anything further couldn’t help but be anticlimactic. The Viennese-born musician already has an impressive discography of works by Mozart, Beethoven and Schumann to his credit. Indeed Vladar’s mastery of such later styles clearly benefits his interpretation of Bach. Vladar imparted tremendous vitality and presence to each episode through a variety of expressive gestures…governing Vladar’s often original choices was a rapt concentration that not even the blurring effect of the acoustics could untether.”
-The Washington Post
Recipient of the 2009 Golden Decoration of Honor for his services to the Republic of Austria, Viennese Stefan Vladar is widely considered one of the most versatile and distinctive musical personalities, bringing keen intelligence, passion and artistry to both conducting and playing the piano. At nineteen he won the International Beethoven Piano Competition in Vienna, beginning a solo career that quickly brought him to the major musical capitals of Europe, the United States and Far East. Among the orchestras with which he has performed are the Vienna Philharmonic, Academy of St. Martin in the Fields, Chicago and Houston Symphonies, Bavarian State and Royal Concertgebouw Orchestra, under such notable conductors as Claudio Abbado, Sir Yehudi Menuhin, Seiji Ozawa, Riccardo Chailly and Christoph von Donhnányi. In Summer 2009 he made a hugely successful debut at New York's distinguished "Mostly Mozart" Festival, performing a Haydn Concerto under the direction of Louis Langrée. Mr. Vladar is acclaimed worldwide for the technical mastery, interpretive elegance and expressive clarity he brings to a wide range of literature. These same qualities are increasingly in evidence in his conducting. In the 2002-2003 season he was Director of the newly formed Grosses Orchester Graz; in 1988 Artistic Director of the Neuberg Festival; in 1999 the Upper Austrian Monastery Concerts and in 2008 he was named Principal Conductor and Artistic Director of the Vienna Chamber Orchestra.
In his orchestral programs Mr. Vladar performs not only the great works of the 20th century but also to revive neglected compositions of earlier eras. His particular dedication is to Mozart’s piano concertos and all of Mendelssohn’s symphonies. Often he conducts a Mendelssohn symphony on the same program as he play/conducts one of the Beethoven piano concertos (all five of which he recorded for Naxos). His discography includes over twenty titles, including solo works by Chopin, Brahms, Richard Strauss, J.S. Bach and Schumann, as well as the Dvorak Piano Quintet with the Jerusalem Quartet and a disc of his conducting baritone Bo Skovhus and the Danish Radio Symphony Orchestra.
Juliette Kang
Instrumentalists - Violinist
PRESS, BIOGRAPHY, PHOTOS, AUDIO/VIDEO
Beethoven Concerto with the Simon Sinfonietta:
“Juliette Kang, the soloist in Beethoven’s Concerto for Violin and Orchestra in D Major, is First Associate Concertmaster of the Philadelphia Orchestra. A contained presence on stage, she is a commanding artist with richness of tone, superb technique and musical intelligence. One could feel the musical chemistry between conductor, orchestra and soloist and it was clear the members were paying close attention.
There was in this performance the spirit of true chamber music, abetted by the intimacy of the hall at Falmouth Academy. And there was a truly satisfying give-and-take in many passages between players and soloist. Kang elected to play the magnificently written cadenzas by Fritz Kreisler. In playing these cadenzas she conveyed an endless stream of forward motion with a delicate and floating tone, and scales and arpeggios that were seamless and effortless.”
-The Cape Cod Times
Tchaikovsky Concerto with the Philadelphia Orchestra:
“…But others, like violinist Juliette Kang Wednesday night, give you the feeling they’ve spent years thinking about a piece. It’s not that Kang, the orchestra’s first associate concertmaster, sounded like one of the many first-tier full-time soloists who have stepped in front of this orchestra with the Tchaikovsky Concerto. What was striking about her interpretation is that she sounded like a completely different first-tier soloist, one who had rethought the piece to make it less showy and more introspective. To have done this at the Mann Center, with its distractions of ambient sound, was all the more impressive. Kang had the power of a charismatic orator who draws the listener in by speaking softly. She’s not a flashy player. Technically she’s all there, but that’s not her greatest quality. I was most taken by her work in the first movement – the manipulation of color, the wisdom to linger on a particular note for just the right amount of time. Kang – who came to the orchestra after holding a similar position with the Boston Symphony Orchestra from 2003 to 2005 – has both sweetness and sincerity in her playing. The thing that distinguished her, however, was the way she used details to make you hear the piece in a different way. It emerged less heroic and more vulnerable, less declarative and more questioning.”
-The Philadelphia Inquirer
Mozart #4 with the Baltimore Chamber Orchestra:
“Guest artist Juliette Kang, associate concertmaster of the Philadelphia Orchestra, delivered a glowing performance of Mozart’s Violin Concerto No. 4. Even at fast speeds (the first movement had quite a tailwind), her playing was beautifully centered and silken in tone. The Andante inspired particularly elegant phrasing.”
-The Baltimore Sun
Shostakovich #2 with the National Chamber Orchestra:
“The highlight of Saturday’s concert was the terrific Canadian violinist Juliette Kang, who played the Shostakovich Violin Concerto No. 2…Kang is a true individual. She performed Shostakovich’s demanding concerto with authority and conviction and was never bashful about making big personal statements. Her approach was both athletic and musical, and she knew how to milk a phrase without sounding maudlin.”
-The Washington Post
Korngold Concerto with the Akron Symphony:
“Juliette Kang gave the concerto warmth, tenderness and an enigmatic beauty in her assured performance…Kang, a superb musician, locked in every note and yet gave a performance of ease and flexibility. The orchestra was buoyed by her and gave its best performance of the evening with Kang lighting up Korngold’s jeweled hues and lush scoring.”
-The Akron Beacon Journal
Shostakovich #2 with the Québec Symphony:
“Juliette Kang is an impressive violinist and a musician to the core. Hers is a very pure sound, her playing technically perfect and maturity altogether astounding. This is intense, profound playing an artist who knows how to make every note count.”
-Le Soleil, Québec
Schumann Concerto with the Vancouver Symphony:
“Since it more than deserves to be heard—it’s by the great Schumann after all—it was especially good to hear that Kang and the VSO plan to record it soon for CBC Records. She made a wonderful case for it, dashing off its technically difficult passages securely and imbuing the slow movement with great dignity and warm songfulness in her phrasing.”
-The Vancouver Sun
An especially accomplished recitalist, Ms. Kang’s invitations include New York's Carnegie Hall, Frick Collection, Rockefeller University and 92nd Street Y; Paris' Théâtre Châtelet, Tokyo's Suntory Hall, Boston's Gardner Museum, Washington, D.C.’s Kennedy Center, Toronto’s “Onstage at the Glenn Gould” series, as well as in Seoul, Taipei, Cleveland, Philadelphia, Pittsburgh and Cincinnati. In addition she has enlivened Canada’s Festival International de Lanaudière and Festival International d’Été; America’s Spoleto, Bravo! Colorado, Ventura, Moab and Marlboro Festivals; and France’s Colmar Festival.
Born in Edmonton, Canada, Ms. Kang began her violin studies at age four. At nine she began studying with Dr. Jascha Brodsky at the Curtis Institute of Music, from which she earned her Bachelor’s Degree in 1991. In 1993 she earned her Master’s Degree from The Juilliard School, where her teachers included Dorothy DeLay, Hyo Kang and Robert Mann. She came to international attention as winner of First Prize in both the Yehudi Menuhin and Indianapolis International Competitions and is also a Young Concert Artists winner.
Ms. Kang’s recording debut--a recital on the Discover International label, including the premiere recording of Lutoslawski’s Subito--was issued to rapturous acclaim and followed by a recital CD recorded “live” at Carnegie Hall. On the C.B.C. label is her orchestral recording debut, Schumann and Wieniawski (#2) Concertos with Sergiu Comissiona and the Vancouver Symphony. Ms. Kang has also been a member of the Metropolitan Opera Orchestra, was assistant concertmaster of the Boston Symphony and in 2005-2006 joined the Philadelphia Orchestra as First Associate Concertmaster. Ms. Kang has been profiled in The Strad, The Indianapolis Star, The New York Times, The Globe and Mail and many other publications.
Available upon request E-mail MSprizzo@aol.com.: Ms. Kang’s “Live at Carnegie Hall” recital OR in joint recital with cellist Tom Kraines OR Concertos by Schumann, Mozart, Wienawski, Prokofiev.
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